Uploaded February 2023 | Updated September 2026, 7 minutes ago
John Herbert Gleason (February 26, 1916 – June 24, 1987) was an American actor, comedian, writer, and composer known affectionately as "The Great One".[1][2][3] Developing a style and characters from growing up in Brooklyn, New York, he was known for his brash visual and verbal comedy, exemplified by his city-bus-driver character Ralph Kramden in the television series The Honeymooners. He also developed The Jackie Gleason Show, which maintained high ratings from the mid-1950s through 1970. After originating in New York City, videotaping moved to Miami Beach, Florida, in 1964 after Gleason took up permanent residence there.
Among his notable film roles were Minnesota Fats in 1961's The Hustler (co-starring with Paul Newman) and Buford T. Justice in the Smokey and the Bandit series from 1977 to 1983 (co-starring Burt Reynolds).
Gleason enjoyed a prominent secondary music career during the 1950s and 1960s, producing a series of best-selling "mood music" albums. His first album, Music for Lovers Only, still holds the record for the longest stay on the Billboard Top Ten Charts (153 weeks), and his first 10 albums sold over a million copies each.[4] His output spans some 20-plus singles, nearly 60 long-playing record albums, and over 40 CDs.
John Herbert Gleason (February 26, 1916 – June 24, 1987) was an American actor, comedian, writer, and composer known affectionately as "The Great One".[1][2][3] Developing a style and characters from growing up in Brooklyn, New York, he was known for his brash visual and verbal comedy, exemplified by his city-bus-driver character Ralph Kramden in the television series The Honeymooners. He also developed The Jackie Gleason Show, which maintained high ratings from the mid-1950s through 1970. After originating in New York City, videotaping moved to Miami Beach, Florida, in 1964 after Gleason took up permanent residence there.
Among his notable film roles were Minnesota Fats in 1961's The Hustler (co-starring with Paul Newman) and Buford T. Justice in the Smokey and the Bandit series from 1977 to 1983 (co-starring Burt Reynolds).
Gleason enjoyed a prominent secondary music career during the 1950s and 1960s, producing a series of best-selling "mood music" albums. His first album, Music for Lovers Only, still holds the record for the longest stay on the Billboard Top Ten Charts (153 weeks), and his first 10 albums sold over a million copies each.[4] His output spans some 20-plus singles, nearly 60 long-playing record albums, and over 40 CDs.


![Catherine Deneuve on being chosen as the model for Marianne simple of French Republic
Catherine Fabienne Dorléac (born 22 October 1943), known professionally as Catherine Deneuve (UK: /dəˈnɜːv/,[1] US: /dəˈnʊv/,[2] French: [katʁin dənœv] ), is a French actress. She is considered one of the greatest European actresses on film. In 2020, The New York Times ranked her as one of the greatest actors of the 21st century.
Deneuve made her screen debut in 1957 at age 13, in a film shot the previous year when she was only 12. A major figure of the New Wave, she became, like Brigitte Bardot and Alain Delon, one of the best-known French artists in the world.[5][6] In a career spanning nearly 70 years, she has played more than a hundred roles and is recognized in France and internationally for being one of the key faces of the musical film genre with appearances in The Umbrellas of Cherbourg, The Young Girls of Rochefort, Donkey Skin, 8 Women and The Beloved. Early in her career, she gained acclaim for her portrayals of aloof and mysterious beauties for well-known directors, including Luis Buñuel, François Truffaut, Jacques Demy, Roman Polanski, and Agnès Varda.[7] She played in films attracting a total of nearly 99 million spectators in theaters, making her the working actress with the most admissions in France.
In 1985, she succeeded Mireille Mathieu as the official face of Marianne, Frances national symbol of liberty. Catherine Deneuve on being chosen as the model for Marianne simple of French Republic](https://i.ytimg.com/vi/C__N2a7TiiM/mqdefault.jpg)


![Leslie Caron on working with Gene Kelly on An American in Paris
An American in Paris is a 1951 American musical romantic comedy film inspired by the 1928 orchestral composition An American in Paris by George Gershwin. Starring Gene Kelly, Leslie Caron (her film debut), Oscar Levant, Georges Guétary, and Nina Foch, the film is set in Paris, and was directed by Vincente Minnelli from a script by Alan Jay Lerner. The music is by George Gershwin, with lyrics by his brother Ira, with additional music by Johnny Green, and Saul Chaplin, the music directors.
The story of the film is interspersed with dance numbers choreographed by Gene Kelly and set to Gershwins music. MGM executive Arthur Freed bought the Gershwin musical catalog from Georges brother Ira in the late 1940s, since George died in 1937. Some of the tunes in this catalog were included in the movie, such as I Got Rhythm and Love Is Here to Stay.[4] Other songs in the movie include Ill Build A Stairway to Paradise and S Wonderful. The climax of the film is The American in Paris ballet, a 17-minute dialogue-free dance featuring Kelly and Caron set to Gershwins An American in Paris. The ballet sequence cost almost half a million dollars to shoot. It was filmed on 44 sets in MGMs back lot.[4] According to Leslie Caron in a 2009 interview on Paul OGradys interview show, the film ran into controversy with the Hays Office over part of her dance sequence with a chair; the censor viewing the scene called it sexually provocative, which surprised Caron, who answered What can you do with a chair? Leslie Caron on working with Gene Kelly on An American in Paris](https://i.ytimg.com/vi/DYe1VVD0R3o/mqdefault.jpg)


![Bo Diddly on the Gimmick of his Greatness
Ellas Otha Bates (December 30, 1928 – June 2, 2008), known professionally as Bo Diddley, was an American guitarist and singer who played a key role in the transition from the blues to rock and roll. He influenced many artists, including Buddy Holly,[3] Elvis Presley,[4] the Beatles, the Rolling Stones,[5] the Animals, George Thorogood, Syd Barrett,[6] and the Clash.[7]
His use of African rhythms and a signature beat, a simple five-accent hambone rhythm, is a cornerstone of hip hop, rock, and pop music.[ In recognition of his achievements, he was inducted into the Rock and Roll Hall of Fame in 1987, the Blues Hall of Fame in 2003, and the Rhythm and Blues Music Hall of Fame in 2017. He received a Lifetime Achievement Award from the Rhythm and Blues Foundation and the Grammy Lifetime Achievement Award. Diddley is also recognized for his technical innovations, including his use of tremolo and reverb effects to enhance the sound of his distinctive rectangular-shaped guitars.[13][14]
Bo Diddley was born in McComb, Mississippi,[nb 1] as Ellas Otha Bates (also stated as Otha Ellas Bates or Elias Otha Bates).[16] He was the only child of Ethel Wilson, a sharecroppers teenaged daughter, and Eugene Bates,[17] whom he never knew. Wilson was only sixteen, and being unable to support a family, she gave her cousin, Gussie McDaniel,[18] permission to raise her son.[15] McDaniel eventually adopted him, and he assumed her surname.[19] Diddley denied ever having the name Otha in a 2001 interview, saying I dont know where they got that Otha from,[20] but his website, maintained by his estate, confirms it as his middle name. Bo Diddly on the Gimmick of his Greatness](https://i.ytimg.com/vi/Drr1CwBvhvw/mqdefault.jpg)
![Joan Baez on the Viet Nam War draft
Joan Chandos Baez (/baɪz/ BYZE,[1][2] Spanish: [ˈbaes]; born January 9, 1941[3]) is an American singer, songwriter, musician, and activist.[4] Her contemporary folk music often includes songs of protest and social justice.[5] Baez has performed publicly for over 60 years, releasing more than 30 albums. Fluent in Spanish and English, she has also recorded songs in at least six other languages.
Baez is generally regarded as a folk singer, but her music has diversified since the counterculture era of the 1960s and encompasses genres such as folk rock, pop, country, and gospel music. She began her recording career in 1960 and achieved immediate success. Her first three albums, Joan Baez, Joan Baez, Vol. 2 and Joan Baez in Concert, all achieved gold record status.[6] Although a songwriter herself, Baez generally interprets other composers work,[7] having recorded songs by the Allman Brothers Band, the Beatles, Jackson Browne, Leonard Cohen, Woody Guthrie, Violeta Parra, the Rolling Stones, Pete Seeger, Paul Simon, Stevie Wonder, Bob Marley, and many others. She was one of the first major artists to record the songs of Bob Dylan in the early 1960s; Baez was already an internationally celebrated artist and did much to popularize his early songwriting efforts.[8][9] Her tumultuous relationship with Dylan later became the subject of songs from both and generated much public speculation.[10] On her later albums she has found success interpreting the work of more recent songwriters, including Ryan Adams, Josh Ritter, Steve Earle, Natalie Merchant, and Joe Henry. Joan Baez on the Viet Nam War draft](https://i.ytimg.com/vi/FaS9mMZKDUw/mqdefault.jpg)
![Mies van der Rohe on his architectural philosophy
Ludwig Mies van der Rohe (/miːs ... roʊ/ MEESS-...-ROH; German: [ˈluːtvɪç ˈmiːs fan deːɐ̯ ˈʁoːə]; born Maria Ludwig Michael Mies; March 27, 1886 – August 17, 1969) was a German-American architect and furniture designer.[1] He was commonly referred to as Mies, his surname. Along with Alvar Aalto, Le Corbusier, Walter Gropius and Frank Lloyd Wright, he is regarded as one of the pioneers of modernist architecture.
In the 1930s, Mies was the last director of the Bauhaus, a ground-breaking school of modernist art, design and architecture.[2] After Nazisms rise to power, with its strong opposition to modernism (leading to the closing of the Bauhaus itself), Mies emigrated to the United States. He accepted the position to head the architecture school at what is today the Illinois Institute of Technology in Chicago.
Mies sought to establish his own particular architectural style that could represent modern times just as Classical and Gothic did for their own eras. The style he created made a statement with its extreme clarity and simplicity. His mature buildings made use of modern materials such as industrial steel and plate glass to define interior spaces. He strove toward an architecture with a minimal framework of structural order balanced against the implied freedom of unobstructed free-flowing open space. He called his buildings skin and bones architecture. He sought an objective approach that would guide the creative process of architectural design, but was always concerned with expressing the spirit of the modern era. He is often associated with his fondness for the aphorisms less is more and God is in the details. Mies van der Rohe on his architectural philosophy](https://i.ytimg.com/vi/Fel4UUZqw2E/mqdefault.jpg)